A selection of tracks from various LPs and Comps I found in Perù, from Andes Sampoñas & Quenas sounds to Amazonic Nostalgic guitars… I dusted a good stack to share with you some of my countries treasures during the 60’s and 70’s… hope you enjoy this one too…

Chalena Rosa Elena Rodriguez Vasquez is one of the most renowned musicologists in Peru. His text “Musical Practice of the Black Population in Peru” was published in 1982 and won the prestigious House of Musicology of the Americas Cuban organization reports, investigates, promotes, recognizes and publishes the work of scholars of literature and arts.

Chalena interest lies in the study of Afro-Peruvian holiday traditions found in El Carmen and other nearby areas in the provinces of Cañete and Chincha, areas where the black population has a significant percentage in our country. These traditions are studied from field surveys and documented with historical and sociological analysis that supports the first part of the book. In its first pages the author also reflects on the impact it has had on these artistic process of cultural commodification and corporate image.

The introduction of the book shows the clear line that she draws between the spontaneous and commercial:

“… We encounter many difficulties to see that we had left a false hypothesis. The intense activity of many folk music groups of so-called black, Negro or Afro, Black … as Peru had made us think that this music scenario was also presented in a spontaneous and intense practice at the grassroots level … From the first interviews we could see that at spontaneous, this practice rarely performed musical. Understanding spontaneity as an activity outside the framework of official parastatal or commercial. But the musical practice we found it was mostly within that framework: the commercial.
Then … we headed south, Cañete and Chincha, where the percentage of black population is higher … toured villages and farms, whose residents highlighted that “it hardly makes the music”, “that was old days” or “no money for holidays.” However, we note that extinction is not total, but the musical practice is so sporadic that it is necessary to stay and the place of many months at least … While in this search, we found in El Carmen, Chincha near town and in other towns in the same area … a demonstration that has great effect that is made for Christmas time: the Dance of Negritos (pack of Negritos) “(p. 9-10)

The first part of the book shows a brief history of African slavery with demographic data, we highlight that Peru is not ethnically African populations became established (different cultures) and therefore have brought musical expertise of various kinds. It shows how the Spanish banned the musical practices of African and regrettable that means having only purely literary data without a reference to the “sound phenomenon” of this music, it then would enter a stage of near disappearance.

The text that we detailed the nineteenth century, dance and music were often a tool to achieve social advancement and recognition, because sometimes people of African descent came to be masters of dance of the ruling class. However, the musical practice was separate parties: the ruling class dance in the “grand salon”, the waltz, mazurka, Jack, minuet, etc.., While dancing classes in villages and alleyways, musical forms such as zamacueca, INGA, the panalivios, the gannet, etc. (p. 24) concludes this section stating that black musical forms in Peru, are the product resulting from a social practice in which a battle being waged between social classes. Notes also emerges years later the so-called criollismo, new cultural product that would not be entirely black groups, but the lower classes of the Peruvian coast.

Chalena also discusses the current state of music, since 1956, when it appears the Company PANCHO FIERRO (first organized group to present a show of black music) and in which there was no difference between the “afro” and “native”, since in the social practice of the twentieth century there is no difference between black and Creole, and mentioned that the music called “Negro” was not only of blacks but of the lower classes of society. The author then shows how to use the term born “Afro” in the 1960s.

Chalena After we made notes as the professionalization of black folklore, where it notes that participants in the groups of “black art” learning to dance in them, in the trials, which shows little or no musical practice with spontaneously. “The same applies to people coming from south of Lima (Cañete, Chincha). Many of the groups that make up Lima, are people in those places … We emphasize this because we consider important to note the lack of spontaneous social practice of music-of the people, even those with high percentage of black population. ” (P. 43)

The author describes a general way of structuring music shows “black”:

– First is the need for the product is “folk”, present to some extent “the most authentic black folk” of those events that oral tradition and continuity did not reach total extinction as is the case of native stomping practiced in various communities of Chincha and Cañete, as well as others that were not intense practice at the grassroots level: alcatraz, Inga, bull kills, etc.

– On the other hand is the reconstruction of some dances that apparently were already obsolete and Land or Zamacueca. Another dance that was in disuse is the celebration, which originated in the part of the choreography is known today is credited to Don Porfirio Vasquez.

– A third aspect to consider would be innovation, aesthetic value is achieved by market needs. Chalena emphasizes “the performance of a pseudo rituals in which one notes the influence of the ballets of Senegal, Guinea and Cuba, that although he recognizes an undeniable aesthetic value, are quite questionable, because at present as folk are completely distorting reality and spreading a false image of the black in Peru “(p. 46)

– Finally, there is a type of recreation, innovating the instrumentalization or incorporating instruments fell into disuse. Such is the case of the reco-reco, according to Carlos Hayre instrument was brought to Brazil by Nicomedes Santa Cruz.

The second part of the book is devoted to a thorough musicological study of dance in their little black pack of butt shapes, such as spontaneous practice of that population.

This is a sound made in Brazil. With all the members (being) brazilian.

But the purpose is to show the young African music, with all its nuances that characterize the roots of the music from the Black Continent.

In this record we release many curious things. Starting with the rhythmic design, that was based on the camel’s steps, that is in the 4/4 rhythmic division, in the same vein as the Yeah, Yeah, Yeah and Soul Music, to which was given the name

OGA, because in Lagos, Nigeria’s capital, OGA is a kind compliment among friends. There, a man feels good when is compared to an OGA (camel).

Purposefully and proudly, Rivers label releases this new and different record, made for export, that’s not only dedicated to the discophiles, as well as the lovers of parties, night clubs, and even to those who are in love, because on both sides, there are no intervals. It’s a crazy and infectious rhythm.”

It’s hard to describe the music played by Embaixador and Tribo Massáhi. It has a Funky groove with lots of percussion, and vocals by Embaixador and a female chorus. Sometimes it sounds like African music, but not necessarily Afrobeat or Afrofunk; it’s more like a Candomble (African-Brazilian religion) chant. Also, it has some influences of psychedelic music, that is characteristic of the music made in the early 70’s. To me it sounds like they took some drugs and went to the studio make music and have some fun.

Each side has only one long track, that is divided in songs, although there are no intervals between them.

2006, Listen Recovery (Renz & Rich Spirit Revelli visit SAO PAULO, BR) our main object, records shopping and if money allow it, some cultural instruments. Our mission was to have fun and to experience the Sao Paulo living. We stayed at Dj Nuts’ apt. In Saude Sao Paulo, near Paulista Ave. (walking distance). As the days passed by Rich and I searched for the MPB as well as rarities. Our guide couldn’t be more knowledgeable about Brazilian Music and its History… So it was overwhelming the information giving to us in such short time… the connections from the early days of Bossa Nova to the psych Lps to Samba Rock… Disco 7 has been one of the main places where Nuts takes any visitor willing to pay well for records. Brazilian records aren’t cheap!… and the exchange currency is not the greatest… 2006 (2 reis per dollar) not much of a difference… but the food was cheap and amazing, so that helped out budget… During the visit, the best way to obtain address and spots for records shopping was to ask for a business card or phone number. So if you are going to Sao Paulo BRAZIL and your going for record shopping… This info might help you… still current to this date. SERTO!… Also I should mention, we where there for the purpose of BRAZILINTIME, B+’s 2nd film. Also, one of the scan tickets belongs to “Love Story”… a night club that caters the night-women in SP. We checked out since it was a funny buzz about it… anyhow… here are some scans from what I was able to fund during a shop clean-up. RECOVERY CRU!

Antiguedades: ALBUNS DE FIGURINHAS

DISCO 7 (ask for Carlinho) he’s the man!

outside of DISCO 7, dj Nuts

End-of-the-night point for prostitutes, rent boys and associated partygoers (but not strictly confined to this demographic), Love Story has developed quite an international reputation thanks to the celebrities who’ve staggered in and out of its doors. Nick Cave regularly frequented it while living in Sao Paulo and British tech-house producers Layo & Bushwacka! named a track after a visit. Deafeningly loud electronic house music keeps the audience buzzed and hot, and more inspired patrons climb onto raised podiums to shake loose body parts around strip poles. With two floors and numerous bars at which drinks will set you back R$15 each. At some point you’ll likely have to broach the precarious subject of asking whether the person you’re chatting up is, ahem, working or not. Weekends can get busy, so you’ll have to face every partygoer’s usual quandry: How to arrive fashionably late—the party peaks between 4 a.m. and 5 a.m.—without risking an interminable wait in line. by Total SP Guide (link)